Diana Ross is 81 years old and can still captivate an audience. If the aforementioned sentence could stand alone as an entire review, this article would already be over – or at least her portion of it.
A negative note about a performer with a legacy that spans more than six decades, who is still engaging enough to have thousands on their feet demanding an encore, is just plain rude.
But the story about the show must go on. Fortunately for this reporter, unfavorable criticism for the Muny’s sold-out concert Thursday night featuring Ross and multiple Grammy Award-winning future legend Jon Batiste was barely necessary.
Both artists are currently on tour. Batiste’s “The Big Money” Tour kicked off in Kansas City the night before he made it to the Muny. Ross’ “Celebrating Timeless Classics” tour got underway last month in Los Angeles.
While Ross was essentially stationary, which is uncharacteristic of her shows – even as recently as last year’s tour stop at The Fox – she kept the audience’s attention for the entire show. Despite the sedentary nature of her performance, she looked phenomenal and gave good vocals.
Batiste bounced on the Muny stage in a pair of gold sequined bell bottom pants and a tuxedo jacket with tails and gold embellishments on each shoulder. His set began with “TELL THE TRUTH.” He set the tone from the beginning that the show was equal parts musical experience and party.
“You can get up and dance right at your seat,” Batiste told the crowd of just about 11,000 as he performed ‘FREEDOM.” “Right in the aisles, right here, that’s your dance floor. When we play this type of music in my hometown of New Orleans, people let their whole soul out and let it shine.”
He encouraged the Muny crowd to do the same.
“Let it out and let it shine so bright, that they gonna see us all the way from New York,” Batiste said.
About halfway through his set, Batiste gave the crowd one of the two moments that featured surprise guests with a tribute to rock ‘n’ roll pioneer Chuck Berry. He brought out the St. Louis native’s grandsons – Charles Berry III and Jahi Eskridge – to join him for a crowd pleasing rendition of the Berry classic “Johnny B. Goode.”
Eskridge and Batiste were on vocals as the younger Berry mimicked the guitar riffs and signature “duck walk” that made his grandfather an international music sensation and culture shifter.
After he showed the crowd he knows how to have a good time – and compelled them to do the same – Batiste demonstrated his musical ingenuity.
He sat down at the piano and impressed the audience with a few bars of Beethoven’s “Für Elise.” He then shifted the chords to give the world-renowned piano piece a jazzy feel before it was transitioned again to resemble classic gospel. He seamlessly moved into “When The Saints Go Marching In” before diving into “The Star Spangled Banner.” He performed the National Anthem in the style of Bach, Mozart and former St. Louis resident Scott Joplin.
Another stunning moment from the show was his nod to Ray Charles with an excerpt of “The Right Time” that showcased the breathtaking vocal chops of his background singer Desz.
For his finale, Batiste and his band started a second line that carried on as he made his way through the entire space. Led by him on the melodica, the crowd sang along for “You Are My Sunshine,” “Killing Me Softly” and “Amazing Grace. The audience was given a new perspective with respect to an additional perspective of the size of the Muny as the second line carried on so long that some in the audience lost interest.
Batiste labored through his finale. But Ross gave the audience a never ending introduction treatment. A masterfully edited video featuring hilarious banter from her family demonstrated her playful side. But the clips kept going and going – and going.
When she emerged with a performance of “I’m Coming Out,” the overwhelming sentiment was “finally.”
But Ross hit the stage with intention as she powered through “More Today Than Yesterday” and a Supremes tribute that featured “Baby Love,” “Can’t Hurry Love” and “Stop in the Name of Love.”
The video element accompanied Ross throughout her set. A montage of music videos, behind the scenes footage and family photos were in constant rotation as she performed. Some moments – like her performance of “Why Do Fools Fall In Love” were in sync with the setlist.
While Ross was essentially stationary, which is uncharacteristic of her shows – even as recently as last year’s tour stop at The Fox – she kept the audience’s attention for the entire show. Despite the sedentary nature of her performance, she looked phenomenal and gave good vocals.
“Touch Me in the Morning,” Her rendition of “Don’t Explain” from “Lady Sings the Blues” and the “Love Hangover” and “Higher” mashup were among her best.
After her second wardrobe change she brought daughter Rhonda Ross for a duet of “Count On Me.” Rhonda wrote the song for her mother’s Grammy-nominated 2021 album “Thank You.”
As per usual, Ross thought she was closing the show with her version of Gloria Gaynor’s “I Will Survive.”
The Muny audience had other plans. After a 10 minute ovation, Ross emerged in her post-show relaxation clothes. Because it’s Diana Ross, the black sequined pants set with ballerina slippers still felt fit for the stage.
She blessed the crowd with the title track from her latest album “Thank You,” and playfully engaged with fans through expressions of endearment. She exchanged smiles, heart hands, waves and general reciprocity for the energy Ross was given during the set – and over the course of her career, which doesn’t appear to be ending anytime soon. Nor should it.
This show was phenomenal! My first time seeing Jon Batiste but will not be my last! Diana Ross owned the stage and was incredible! Saw her the first time with the Supremes on January 26, 1969 at Kiel Auditorium there in St. Louis. She was and is AMAZING!